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The art physical aspect of purchasing art for the home but also
Te art education process involved not only the
education the philosophical discussions about how and why Black
art fts into our lives.
We have always believed that the life enhancement
process that a piece of art generates for a collector is the most
important reason to acquire artwork. Tis means that
involved a collector’s motivation should not be based solely on Inside the gallery at 3805 Lancaster Avenue.
whether a work of art will appreciate fnancially. Rather,
not only the Artist Claude Clark, Sr. lectures at October Gallery in 1987. it should also be based upon a kinship, a connection
with the essence and life force of the work. Corrine
Jennings of the Kenkeleba Gallery in New York City
physical free to attend. Our staf was trained to educate the client says it well: “Te thing about art is that you only hold
All events at the gallery, from day one, were always
it in trust. Tere’s a living spirit in a great work of art.
aspect of frst and sell second. Te educational component If you see it only in terms of its monetary value, the
started as soon as the client entered the gallery. Our
circle of communication is incomplete.” Mercer and
staf was taught to help patrons feel comfortable. Price
taking art was never to be an issue. If someone liked a piece of art, I agree.
An astute art collector will recognize the value of an
October Gallery would fnd a way to enable him or her
home but to purchase it. artist’s work long before the investment-oriented art
collector takes note. At October Gallery, we say it is well
October Gallery initiated an internal fnancing
to develop a sensitive eye for intrinsic aesthetics when
also the system where a client could purchase art using post- obtaining artwork. First, fnd the valid aesthetic reasons October Gallery’s Charlene Landon (left), artist Robert Jeferson
dated checks and/or credit card payments with no
to purchase; then consider investment appreciation.
additional fnance fees. We produced booklets and
(center) and Evelyn Redcross at 3805 Lancaster Avenue.
philosophical pamphlets for the sole purpose of educating our clients Should a piece of art appreciate, that is an added beneft.
African-Americans are purchasing Black art because
about simple concepts such as the diference between
some have more disposable funds as well as a strong
discussions an original painting and a limited-edition print or motivation to collect art and support Black artists. In
the diference between a serigraph and a lithograph.
addition, many African-Americans want to make a
st
about how As we entered our 21 year of connecting people cultural statement concerning their identity that the
with art, we often saw patrons who by then had
designer dress, home theater or Range Rover can not
acquired a signifcant collection of African-American
make. We believe that members of other ethnic groups
and why art. Some were early participants in our informal purchase Black art because it ofers a means to diversify
art education. We like to think that we were a vital
an already established collection.
Black art fts infuence in awakening the collection of African- opened, a Black couple came into the gallery. Tey were
In our early days, around 1986, a year or two after we
American art. We salute those with sizable and
valuable collections for becoming strong examples for
into our lives. others to follow. extremely well dressed; she wore a beautiful fur coat.
One could not miss the beautiful black Mercedes sports
car they had parked in front of the gallery. Artist Joseph Holston (left), Evelyn Redcross, Bob Russell and
Mary White at 3805 Lancaster Avenue.
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